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Frühgeschichte deutscher Filmtheorie : ihre Entstehung und Entwicklung bis zum Ersten Weltkrieg
(2001)
Rwanda entered independence following a transition marked by violent internecine conflict. The conflict was stoked by the departing colonial rulers as they sought to place control of the levers of state in the hands of an ethnic majority, which they had hitherto marginalised in favour of a minority they now sought to exclude. It carried on into the country’s post-colonial politics. For nearly three decades Rwanda’s postcolonial rulers presided over an ethnocracy that perpetuated the negative colonial legacy of ethnic division. They systematically practiced a politics of exclusion and repression that placed the country’s long-term stability under threat, eventually led to civil war, and culminated in the genocide of 1994. After the genocide and the defeat and overthrow of the ancien regime of ethnic supremacists, the new ruling elite - most of whom had spent nearly three decades in exile or been born there - embarked on re-building a collapsed state and re-ordering the country’s politics. The last fourteen years have witnessed deliberate efforts to re-orient the country away from three decades of politics of division and exclusion under the First and Second Republics, towards a system which privileges national reconciliation and unity, equity, and inclusion. This paper examines developments in post-1994 Rwanda against the background of pre-1994 politics and society, and the factors that led to and facilitated the war that culminated in the genocide and eventual overthrow of the Second Republic. It provides insights into the efforts and achievements made by the new ruling elites in pursuit of long-term peace and stability. A great deal, however, remains inadequately explored, including political organisation and the role of political parties, economic reform and management, and the reform and management of the security sector, all of which are the focus of on-going research.
Tagebuch meiner ersten Reise
(1782)
Die Stücke der Windrose für Salonorchester (1989-95) by the Argentine-German composer Mauricio Kagel (*1931) constitute a set of eight pieces on the main bearings of the compass, each number being named after a compass point. In my thesis I explore how the different musical idioms – references to non-Western musics and to salon orchestra music, as well as Kagel’s own compositional procedures – relate to one another in the pieces. The specific origin of the materials Kagel utilised is established by examining a variety of sources, such as the composer’s own programme notes, an interview I conducted with him, and most importantly, the sketch materials. On this basis I develop a theoretical model of the intertextual relations between different musical discourses by means of Bakhtinian dialogics, resulting in a typology distinguishing different kinds of cross-cultural musical representation according to the degree of ‘stylisation’ involved. This typology serves as the framework of my analyses in which I discuss the different ways Kagel engages with his source materials in terms of compositional technique, aesthetic issues such as Kagel’s challenge to traditional notions of authorship, and the ideological implications of cross-cultural musical representation, interpreted in the light of recent discourses, for instance in cultural studies and postcolonialism. In particular, I demonstrate that Kagel‘s work is as much a critical reflection on common Western representations of ‘otherness’, as it engages in such a practice itself, as is apparent in the ostentatious employment of a salon orchestra with its associations of turn-of-thecentury exoticism. By illustrating methodological approaches to cross-cultural composition, which has become a prominent feature of contemporary Western concert music, the thesis aims to contribute to current discourses concerning the musical representation of ‘otherness’.